In the post-war era, German design searched for a visual language that had not been contaminated by the ideology of National Socialism; this new language had to strive to be distinct from the previous one beyond doubt. Playing with basic forms, as it was the case with Bauhaus, is also present in post-war designs. Like no other country, Germany would be known soon for Systems Design. Probably, we still remember the stacking plates for hospitals and restaurants by Bauscher in Weiden (Oberpfalz), to name just one example. Braun became internationally acclaimed in the 1960s for its puristic, technological, hand-flattering electric razors. Their black-white-gray color palette is representative of many other German designs of the same time. Philip Rosenthal commissioned German-American Raymond Loewy to design the legendary ‘Form 2000’ along with Richard S. Letham. Bjørn Wiinblad, the Danish ‘fairy tales teller’, designed the ‘Magic Flute’ for Rosenthal also. No other design of the same period inspired so many people with its alternative, imaginary worlds like Wiinblad’s Coffee Set.
Minimalism, purism, high rationality characterize the works of contemporary German designers such as Konstantin Grcic, Nitzahn Cohn, Stefan Dietz, Steffen Kehrle, RelvaoKellermann or Clemens Weishaar. The works also reflect how contemporary German designers deal with sustainability and new technologies. They demonstrate a high affinity between serial production and manufacturing, a relation where crafts and industry are not mutually exclusive, but rather conditional.
I don't believe that we can really estimate, at this point, how a ‘Made in Germany 2.0’ would look like in this context. That’s good that we think more and more about the resources available, and question ourselves how to deal with them. That’s good that we look for recycling possibilities, for example regarding plastic; but wouldn't it be better to think about how to replace plastic? That’s good that we are curious about new technologies and tools that may initially scare us such as AI and robotics. We should not reject them right away, but take our time to get to know them better so we can use them.
'Simple Music Player', radio for dementia patients, 2014. Design and manufacture: E2L Products Ltd.(UK). Photo: © Die Neue Sammlung - The Design Museum, Munich / K. Mewes.
When it comes to the question of how the narrative (including quality and aesthetic standards) of ‘Made in Germany’ can inspire international design, navel-gazing will not get us very far. Of course, it would be very desirable if quality and aesthetic standards would apply to German and European design.
Let me ask the question differently: Do these standards still exist? But solely this fact would not make Germany an attractive location.
Rather, we must ask ourselves why do we keep letting the most innovative ideas go, and why others are then celebrated for making them happen. Does the country of thinkers and inventors - as Germany was often called in the past - no longer exist? I think it does. But what is the use of the best idea, of the most crazy invention, if our industry is indeed aware of it, but does not understand the innovativeness of it and lets it move away... The best examples: the Post-Its or the MP3 player.
How would the jewelry collections in Die Neue Sammlung - The Design Museum in the Pinakothek der Moderne appear to the viewer in 100 years from now, is an interesting question; and I would be a clairvoyant if I could answer it! Kidding aside: especially for collections of contemporary art, and this undoubtedly includes modern jewelry, the question arises whether works and objects will still look meaningful to the eyes of future generations. We all strive to achieve this goal to the best of our knowledge and conscience. Unfortunately, there is no guarantee about the outcome.
Warwick Freeman, 'Flower Star', 'Hard Star', 'Soft Star' – brooches, 1991/92. Courtesy Die Neue Sammlung – The Design Museum, on permanent loan from the Danner Foundation, Munich. Photo: Eva Jünger.
So we strive to collect objects that are absolutely exceptional and proofs of top performance in their time - in terms of materiality, technology, function, historicity and aesthetic appearance.
In order to be able to satisfy these prerequisites, we talk to artists, gallery owners, colleagues; we visit exhibitions and trade fairs; we do jury work. While we used to comb through the pages of print magazines in the past, today we follow the digital media and social media.
Collecting and storing these objects does not really affect a sustainable museum. But the question does arise regarding the materials used, for example, when artists and museums know from the beginning that plastics may contain softeners that not only cause plastic to disintegrate over time, but also affect other materials in the environment. We may limit the possibilities of artists and museums if we demand that alternative materials will be used or if we refuse to collect under these conditions. We have to be clear about it, and we should talk about it.
In 2025 exhibition we will exhibit works by Warwick Freeman (New Zealand) under the glass roof of Pinakothek der Moderne, and by the jewelry class of Kookmin University in Seoul/Korea directed by Dongchun Lee.
* Dr. Petra Hölscher, Curator of Die Neue Sammlung – The Design Museum at Pinakothek der Moderne in Munich.
EXHIBITION TIP
Warwick Freeman: HOOK HAND HEART STAR
15 March – 15 June 2025 at Die Neue Sammlung – The Design Museum in Munich.
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